About

“Art is necessary in order that man should be able to recognize and change the world. But art is also necessary by virtue of the magic inherent in it.”

—Ernst Fischer, The Necessity of Art

"Yet why should an artist's way of looking at the world have any meaning for us? Why does it give us pleasure? Because, I believe, it increases our awareness of our own potentiality. Not of course our awareness of our potentiality as artists ourselves. But a way of looking at the world implies a certain relationship with the world, and every relationship implies action. The kind of actions implied vary a great deal...

A work of art can, to some extent, increase an awareness of different potentialities in different people. The important point is that a valid work of art promises in some way or another the possibility of an increase, an improvement. Nor need the word be optimistic to achieve this; indeed, its subject may be tragic. For it is not the subject that makes the promise, it is the artist's way of viewing his subject. Goya's way of looking at a massacre amounts to the contention that we ought to be able to do without massacres."

-John Berger, Collected Essays

Sarah Levy is a Portland-based artist with a background in history and journalism. She has spent time working as a journalist and drawing related portraits in Palestine and Greece. 

Sarah started drawing in 2013 as a way to cope with grief and trauma. She did not study art in school but has taken classes from Portland artists Phil Sylvester and Jesse Reno. 

Sarah is interested in both the storytelling and the therapeutic potential of art. Most of her portraiture focuses on radical history, grassroots change-makers, and other people typically ignored by the mainstream media. She is inspired by the beauty and power of faces and is interested in the intersection of art, politics, and journalism, along with the question of what art can do to help further the movements and struggles of today. 

Sarah also recently started painting abstractly and is interested in the potential of using that form as a way to let out emotions and chaos, as well as make sense of things. When she is not painting she is most likely to be politically organizing or climbing a mountain.

She is a member of the November Art Collective